Devoted & Disgruntled 11: What are we going to do about theatre and the performing arts?

January 9th-11th, The Birmingham Repertory Theatre

Devoted and Disgruntled is where those who care about theatre and the performing arts come together to discuss, plan and take action to make a stronger sector and better art. It is a gathering of the devoted and the disgruntled.

We've been doing this every year since 2006 and in that time D&D has grown and sustained a theatre and performing arts community and shown time and again that we all have more individual and collective agency as part of that community.

This year sees the biggest change for D&D since it began. Having held our main annual event in London for 10 years, this January it'll happen in Birmingham. Maybe that makes it more possible for you to be there? Maybe you are thinking about coming for the first time?

Do it. Dive in.

D&D is your event where you can work on your goals and your grievances. If you want to get something done then this is the place you can do it. We think the theatre maker Chris Goode said it best (he so often does):

"I resisted going to D&D for the first three years. When I come to write my memoirs, these will be known as "The Stupid Years." D&D is one of the places I go to learn how to live in the future that I want."

But maybe you've been to D&D before? We've been there every year, so let us tell you why we can't wait to get stuck into it again.

Phelim: D&D is where I find out what the urgent issues are going to be in 2 or 3 years time. It's like an early warning device - listen to the conversations and the gossip and you hear what's in the wind. That is part of the wider reason why I return to D&D: it connects me to my community and for most of the year we are a community that doesn't meet with each other, we compete with each other. D&D shows an alternative way for the world to work, it is like returning to a wise teacher - I leave replenished, invigorated and less lonely.

Lee: At the moment one of the hottest issues for me is provoked by our move from London to Birmingham. In the arts, the relationship between London and the rest of the country feels like it is becoming more and more tortured and bad tempered and it is clearly a relationship in flux (D&D moving is a part of that). I'm interested in having a proper conversation about that because I think there is a danger of divisions across the country being exploited by those who want to further decimate our sector.

Whether you've been before or not, come to D&D because you are in control of your future. Don't underestimate what you can make happen at this event. Open Space means that you can work on whatever you want to work on in whatever way you want to work, with people who want to be there working on it with you. It's your event and you can shape what it is. Shape the future that you want to live in. Be in Birmingham!

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Latest

A discussion about how to create a genuinely safe and open atmosphere in improv classes from the first class someone takes.
How do we protect students from potentially harmful experiences which can arise from the rigidity or literal interpretation of 'Yes, and' ?

These are notes taken as Guy Hartnell shared about the Oogly Boogly project, where performers improvised with babies by copying their movements and sounds, while the babies' parents watched. It took place inside a large inflatable venue. The notes were taken by Catherine Ryan.

This was an experimental workshop combining the work of Frank Torino and Richard Coaten who met on the pavement on the way to Day 4. I discovered Frank had an interest in mental health and in improv work with theatre students in Denmark, mine was in how carers of people living with dementia might benefit from having access to improvisation and its role in maintaining their resilience, quality of life and relationship with their loved ones...meta theme - great link made between Franks' You Be Me'

Setting the stage: The Other Way Works uses technology to help with both scaling and making experience seem magical. Often conversations around technology in theatre revolve around marketing and dissemination rather than creative uses.
What support exists for developing technology within theatre?

Brief notes from our discussion follow:
How can we find out where these places are?
- Ask British Council
- Look on Creative Europe, at their funded projects
- European Capitals of Culture
- Where have other similar companies toured to in the past?

It was a discussion characterised by a lot of laughter, generosity and openness. Thanks everyone for making it something far more useful and constructive than the rant fest I envisioned when I called the session.

Inspired by my recent work in Australia, informed by the Australia Council's Artistic Vibrancy report and toolkit, I was interested in opening up a converstaion here in the UK because ‘excellence’ is a much used word whereas ‘vibrancy’ rarely uttered (and presumably then, rarely considered and not fully understood).

Part of the Fringe Central Programme for Fringe participants. Artist, technician, venue staff or audience member – you’ll know the pains as well as the joys of the Fringe. This is your chance to help make the Fringe work better for the very people who give it reason. You. Bring your own questions and ideas – you set the agenda and nothing is censored. An open space – come for as much or as little as you want.

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